Make: Practice, Experimentation, and Revision
AP Drawing Topic 6 7:31 English narration · English + 中文 subtitles burned in
Chapters
Transcript
Look at this sheet.
看这张手稿。
Michelangelo drew the figure — then, around it, went back to the parts that fought him: an arm, a hand, a foot, a head, each drawn again on its own.
米开朗基罗先画了人体，然后在四周回到那些他没画顺的部分—— 一条手臂、一只手、一只脚、一个头，每一个都单独重画了一遍。
One page, and you can watch him practise, test, and correct.
一页纸上，你就能看见他在练习、在尝试、在修正。
Five hundred years later, your AP portfolio asks for exactly that: not finished pictures, but visible proof that you were thinking.
五百年后，你的 AP 作品集要求的正是这个：不是完成的画， 而是能被看见的思考证据。
Two students each hand in fifteen drawings.
两个学生各交上十五张画。
The first hands in fifteen beautiful drawings of fifteen different things.
第一个学生交的是十五张漂亮的画，画的是十五样不同的东西。
Every one is good. Nothing connects them.
每一张都不错，但彼此毫无关联。
The other student hands in a body of work — fifteen works that all grow from one question — and you can watch that question change, image by image.
另一个学生交的是一整套系列作品——十五件全都从同一个问题生长出来——你能一张接一张地看见那个问题在变化。
The second portfolio wins.
第二本作品集赢了。
Scorers read the order, not only the pictures.
评分者读的是顺序，而不只是画面。
This is Topic six of AP Drawing: Make.
这是 AP 绘画的第六个专题：创作。
It is Big Idea two, and it is your Sustained Investigation — sixty per cent of your score.
它属于第二个大概念，也就是你的持续探究—— 占你成绩的百分之六十。
Six things to build: what a sustained investigation is, the three engines of making, synthesis, the six drawing skills, composition and craft, and development.
要搭建六件事：什么是持续探究、创作的三个引擎、综合、 六项绘画技能、构图与工艺，以及发展。
So what is it?
那它到底是什么？
One question, explored in depth, over time.
一个问题，深入地、长时间地探究。
Around fifteen images, plus your written evidence and visual evidence.
大约十五件作品，加上你的书面说明和视觉证据。
Sustained means over time. Fifteen versions of one afternoon is not sustained.
持续，意思是要跨越时间：同一个下午画出的十五个版本不算持续。
Build it as a story: image one states the question, the middle images test and turn, the late images answer with authority.
把它当成一个故事来建：第一张提出问题，中间的作品测试与转向，后面的作品给出有分量的回答。
Here are the three engines of making.
这是创作的三个引擎。
Practice: repeat a skill until it is reliable — the tenth ellipse, the fiftieth hand.
练习：把一项技能重复到稳定为止——第十个椭圆，第五十只手。
Experimentation: test a new tool, a new scale, a new surface — and it does not have to succeed.
实验：试一种新工具、新尺幅、新纸面——而且它不一定要成功。
Revision: return to a work and change it on purpose.
修改：回到一件作品，有意识地改动它。
Now read the middle line: make it visible.
再读中间那行字：让它被看见。
Put those three on a calendar, and an investigation appears.
把这三样放到日历上，一次探究就出现了。
The first three works repeat the same problem — that is practice, and your hand becomes reliable.
前三件作品重复同一个问题——这就是练习，你的手会变得可靠。
At work four you change one thing: a bigger sheet, a wet brush, two minutes instead of two hours.
到第四件，你只改变一样东西：更大的纸、一支湿画笔、两分钟而不是两小时。
Then at work nine you go back to work three and change it, because you now know something new.
然后在第九件，你回到第三件去修改它，因为你现在知道了以前不知道的事。
Keep that rhythm: make, document, reflect, revise.
保持这个节奏：创作、记录、反思、修改。
Now the word that separates a four from a five: synthesis.
接下来是把四分和五分区分开的那个词：综合。
Materials: what the work is made of. Processes: how it is made. Ideas: why it is made.
材料——作品由什么做成； 过程——它是怎么做出来的；想法——为什么要做它。
Synthesis is the small box in the middle, where the choices explain each other.
综合就是中间那个小框：这些选择彼此解释。
Ask of every work: could this idea exist in any other material?
对每件作品都问：这个想法换成别的材料还能成立吗？
If yes, push deeper.
如果能，就再往深里推。
Cézanne. A still life of apples, a bottle and a milk jug. Look at what he chose, not only what he painted. Blunt, blocky strokes. Edges that shift. A table that tilts towards you. His idea was that solid things are built by the eye, patch by patch — and the marks say exactly that.
塞尚，一幅有苹果、瓶子和牛奶罐的静物。 看他选择了什么，而不只是他画了什么：厚重方块般的笔触、不断错位的边缘、 一张向你倾斜的桌面。 他的想法是：坚实的东西是由眼睛一块一块建起来的——而这些笔触说的正是这句话。
Whatever your question, the rubric names six drawing skills, and expects all of them. Mark-making. Line. Surface. Space. Light and shade. Composition. Audit your portfolio against all six. And one work can carry several at once: a figure in a lit interior shows space, light and shade, and composition together.
不管你的问题是什么，评分标准点名了六项绘画技能，六项都要看到。 笔触、线条、画面质感、空间、明暗、构图。 拿这六项去审视你的作品集。 而且一件作品可以同时承载好几项—— 一个处在有光线的室内空间中的人物，就同时展示了空间、明暗和构图。
Mark-making.
笔触。
Dürer built these hands from fine parallel lines that cross where the shadow deepens.
丢勒用细密的平行线画出这双手，线条在阴影加深的地方交叉。
Line.
线条。
Ingres describes a whole head in precise, unhurried graphite — the contour does the drawing.
安格尔用精确、从容的铅笔线画出整个头部——轮廓本身完成了这幅画。
Light and shade, and surface.
明暗，还有画面质感。
Seurat's soft conté sits on rough paper, so the grain breaks the tone.
修拉柔软的孔特粉笔落在粗糙的纸上，纸的纹理把色调打断。
Space.
空间。
Ridge behind ridge, each one paler and cooler than the one in front — distance made of tone.
一道山脊接着一道山脊，越远越淡、越冷——距离是用色调画出来的。
Here is the trap. A skill only counts if it is visible in the image you upload.
这里有个陷阱：一项技能只有在你上传的图片里看得见，才算数。
You may draw a beautiful surface, but if the photograph is dark or blurred, that skill disappears — and a scorer cannot mark what they cannot see.
你也许画出了很美的画面质感，但如果照片偏暗或者模糊，这项技能就消失了—— 评分者无法为看不见的东西给分。
So audit at mid-year, not in April.
所以要在学年中期审视，而不是等到四月。
The gaps you find in December write your practice plan.
你在十二月发现的短板，会替你写好练习计划。
Composition and craft.
构图与工艺。
Composition is how you organise the picture plane, and it is decided before the first real mark — plan with thumbnail sketches and notan.
构图是你如何组织画面，而它在第一笔真正落下之前就已经定了—— 先用缩略小稿和黑白布局来规划。
Leonardo drew his circle and square first.
达芬奇也是先画好圆和方，才画人。
Craft means physical care: clean margins, controlled smudging, flat paper.
工艺指的是实实在在的爱护：边缘干净、擦抹有控制、纸面平整。
But craft is not fussiness.
但工艺不等于拘谨。
A rough charcoal can be perfectly crafted, if the roughness is a choice.
一张粗放的炭笔画也可以是完美的工艺——只要那份粗放是你的选择。
Development is the word scorers use: later works build on what earlier works taught you.
发展，是评分者会用的词：后面的作品建立在前面的作品教给你的东西之上。
Change the scale.
改变尺幅。
Change the viewpoint.
改变视角。
Combine two earlier drawings.
把两张早期的画合起来。
Variations on one motif show deliberate exploration.
围绕同一个母题做变体，才是有意识的探索。
Push one variable to its extreme.
把某一个变量推到极端。
Not every experiment works, and a failure is still valuable if you say what it told you.
不是每个实验都会成功，而失败的实验只要你说清楚它告诉了你什么，它仍然有价值。
The one thing that kills a portfolio is padding.
唯一能毁掉一本作品集的，是凑数。
Let's do this properly.
我们来认真做一次。
A student is drawing her grandmother's hands from memory.
一个学生凭记忆画她祖母的手。
In her first three works she uses an even outline — every edge the same weight.
在前三件作品里，她用的是均匀的轮廓线——每一段边缘都一样粗细。
A critique says they feel flat.
一次讲评说：这些画显得很平。
So in works four to six she tries a weighted line: heavy where the form turns away, light where the light falls.
于是在第四到第六件里，她试着用有轻重变化的线：形体转过去的地方画重， 受光的地方画轻。
Then in works seven to nine she lets the edges dissolve on one side, where the memory has gone.
再到第七到第九件，她让一侧的边缘彻底消融，那正是记忆已经消失的地方。
Now write the one sentence of written evidence that proves this is development.
现在，请写出那一句能证明这是发展的书面说明。
Pause here.
先暂停一下。
Here is the answer, in your deck.
答案就在你的课件上。
<slow>My first three drawings used even outlines.
我最初的三张画用的是均匀的轮廓线。
After critique showed they felt flat, I tested weighted and lost-and-found line in works four to six.
讲评指出它们显得平之后， 我在第四到第六张里试验了有轻重变化的线和若隐若现的线。
Then in works seven to nine I let the edges dissolve entirely, where the memory fades.</slow> Look at what it does: it names what she did, what the critique showed, and what she tested next.
再到第七到第九张，我让边缘在记忆消退的地方彻底消融。 看看它做了什么：它说清了她做过什么、讲评指出了什么，以及她接下来试验了什么。
Practice, experimentation and revision — all three, in one sentence.
练习、实验和修改——三样，全在一句话里。
Three marks students lose here.
这个专题里学生常丢的三处分。
First: build it as a story.
第一：把它建成一个故事。
Image one asks the question, the middle images test and turn, the last images answer.
第一张提出问题，中间的作品测试与转向，最后的作品给出回答。
Second: submit process images on purpose.
第二：有意识地交上过程图片。
Two or three journal spreads, or a before-and-after pair, make all three undeniable.
两三张手账跨页，或者一组前后对比， 就能让这三样无可否认。
Third: never pad with lookalikes.
第三：绝不要用相似的画凑数。
Every variation must move a variable.
每一次变化都必须推动一个变量。
Get those right, and this topic is yours.
做对这三点，这个专题就是你的了。
Four questions before you go.
走之前先回答四个问题。
Name three of the six drawing skills.
说出六项绘画技能中的三项。
Why can a skill you truly have still score nothing?
为什么一项你确实具备的技能，仍然可能一分不得？
Fifteen near-identical drawings — what do scorers read?
十五张几乎一样的画，评分者读到的是什么？
And when should you audit against the six skills?
还有，应该在什么时候拿这六项来审视自己？
The answers are on the slide.
答案就在这张幻灯片上。